Film Festival

[Anonymous]

Mrs. Courtney Lockwood-This movie is a masterpiece, and I am glad you wrote about it, for it compelled me to check it out. Both visually stunning and intellectually challenging, it is an allegory for existentialism that could be used in conjunction with a unit on, you guessed it, existentialism. The film is based on Kobo Abe's novel (which I have not read but could be used in the unit). The use of extreme close ups create and hint at a world that is sensual and unsettling. There are gorgeous scenes of nature reminiscent of ansel adams images or something-but given the circumstances of the film these settings are married to an element of cruelty. Both abstract and bold images are complimented by a haunting score that render the viewer with a tangible sense of isolation. Basically, a man absurdly ends up stuck up in a hole occupied by a woman. By the end of the film both characters (the man doesn't start that way) are nameless, without any identity. They are both doomed to shovel sand indefinitely in order to survive.[Edit by="jluesse on Jul 31, 8:16:54 PM"][/Edit]

[Anonymous]

I saw this film when it originally came out and was mesmerized by its content, suspense, and its gorgeous music. When I saw it the second time, I spent more time looking at the social conventions of each of its segments, and I agree that the depiction of the Communist times in Chinas were probably one of its strongest and most effective. My heart broke when I saw how beauty and originality were subjugated by the overall directive of the political times. Once again, the underdog kept on and managed to do everything within his power to protect the violin. It is a fantastic film and would be more suitable had it been designed with a little less of the sexual content. Maybe the producers would be willing to edit it in a more wholesome way to expand its audience. Do yourself a favor and treat yourself to one of the most interesting, involving, and best scored movies of the last two centuries.

[Anonymous]

This is one of those movies that you have in the right mood to enjoy, and if the conditions are perfect, you're in for a treat. A couple of years ago people were going over gaga over "Lost in Translation", a film that fell short in all accounts for its lack of execution and poor production values. What many people interpreted as subtlety and sparse acting style was just a strong desire to compensate for an art that many have considered lost. Here was a film that gave people an opportunity to dream, and suddenly most of us were analogous to the audience in "The Emperor's Clothes" tale. We were afraid to say the truth and just shut up, looking like fools in the end.

"In The Mood for Love" appears to be a source of inspiration for "Lost in Translation", at least vaguely. It follows the "relationship" between two characters who had the circumstances been different could have had the romance of their lives. The intensity of unfulfilled passions, combined with glorious cinematography, and a haunting score envelops you in the sadness of the two main characters. We accompany them as they yearn for each other, as they miss the opportunities to become one. Some people might run away from films like these, but I truly appreciate the movie that like a good poem uses a series of images and metaphors to deliver a vision and create a work of art that teaches and delights us.

[clay dube]

The recent Japanese film University of Laughs (screened at the New York Film Festival in 2005 and reviewed by Rowena Aquino in Asia Pacific Arts) looks at censorship in wartime Japan. Maintaining morale and stimulating loyalty were assumed by government bodies on both sides of the Pacific to be critical during the war. The Why We Fight series produced by Frank Capra for the US War Department for US soldiers was thought so effective that they were ultimately shown to the general public. They remain available on VHS and DVD and can be readily used in classrooms today to encourage discussions of how we talk about others.

[Why We Fight - useful outlines, notes, clips]

John Dower's War Without Mercy includes an extensive discussion of propaganda and censorship, the focus of which is conveyed by the chapter title: "Race War".

[Anonymous]

This sounds like an interesting film. I plan to try to find it and will offer a review. I found a beautiful and informative book on the Chinese opera by Siu Wang-Ngai. I was looking for images for "Flower Drum Song" and the book is full of incredible photographs by Sui Wang-Nui but the text by Peter Lovrick is equally amazing. It provides brief glimses of various performance traditions and their regional origins in China. It recounts a number of regional folk tales that have become traditional performance pieces. and discusses the connection between regional performance and regional culture. I wll find this extremely useful in the unit I teach on East asian theatrical traditions which has been limited in scope to say the least. I plan to have groups select a story/play from the brief synopses provided in the text. Discuss the historical and cultural context of the work and create a performance piece for presentation to the class that incorporates at least three of the "conventions" discussed in the text. For more advanced students I will have them examine this book and two texts on Commedia dell' Arte and compare the two theatrical forms and what they reveal about the respective cultures.
I'm new to tthis forum and to "forums" in general and so I don't know if this should be two entries, one on the film, one on the book or what? please advise or I guess I will figure it out as I spend more time in the forums

[Anonymous]

Hong Kong action films are amazing. Ang Lee, Tsui Hark and John Woo created an important and influential cinematic genre. John Woo made many films with Chow Yun Fat (A Better Tomorrow, A Better Tomorrow II, The Killer, Hard Boiled)
There is a wonderful book A Bullet in the Head about this gangster, action genre. I love to watch these when they are rereleased at revival theatres (like Nu Art)
Here ia a section of text from one website concerning this genre.
http://www.greencine.com/static/primers/hk.jsp

But there was more to the Hong Kong New Wave than just flowing robes, killer swordplay and fancy footwork. John Woo handed out automatic weapons to his actors and brought back the old Heroic Bloodshed genre with a vengeance in his gangland epics A Better Tomorrow (1986) and A Better Tomorrow II (1988), which made a movie icon out of the cool, effortlessly charismatic Chow Yun-Fat. The pair reunited for the explosive gunplay and slow motion carnage of The Killer (1989) and Hard-Boiled (1992), two of the best action films since Sam Peckinpah yelled "Cut!" on The Wild Bunch.
But Chow also found the time to team up with director Ringo Lam for the gritty City on Fire (1987), a heist film that some believe was the inspiration for Reservoir Dogs, and the outrageous comic book action of Full Contact (1992). Meanwhile, future Bond Girl and Crouching Tiger, Hidden Dragon star Michelle Yeoh and Cynthia Khan presented a strong image of pistol-packing, kung fu-equipped lady cops in the amazing In the Line of Duty series.

Thanks to all of you for the suggestions.
Linda

[Anonymous]

I watched the DVD "From Mao to Mozart, Isaac Stern in China." This would be a great film for high school students who are into classical music, but excerpts could be used for social studies/Asian studies classes.
Part of it covers the effect of the Cultural Revolution, plus, in the video, the head of the Shanghai Conservatory is interviewed, and he describes how he was tortured for teaching Western music (Mozart, Beethoven, etc.).
It is a bit much for my middle school students, but some great topics for the older students could be generated. One thing I kept thinking is if the US is approaching its own version of the CR? Less funding for the arts. Readdressing the obscenity issue. Limiting freedom of speech....the list could go on.
The movie is old, from the early/mid 1980's, but it still was fun to watch.

[Anonymous]

I, too, found "Shower" to be a sensitive and enlightening view of the old and the new in China. Although the main character clearly had left the old ways -- the bath house, being near his father and brother, the crumbling old architecture -- his guilt at having left is evident throughout. That he ultimately chooses to stay with his brother seemed to represent a coming home, a triumph of sorts for the old order -- reverence for family being primary. I don't think I would use this with middle school kids, but I recommend it to UCLA Asia Institute teachers.[Edit by="ctchir on Oct 16, 8:28:54 PM"][/Edit]

[Anonymous]

I watched the King of Masks last night and was moved by the poignant story of this lonely, impoverished old actor and the young orphan he "buys" on the black market, so that he can teach his ancient art to a male heir--the only way tradition allows the art of the masks to be passed on. He tells the delightful young child to call him Grandpa, and for awhile both the grandpa and the child seem to have found the heaven each yearned for. But, that heaven disintegrates when the child confesses that SHE is a girl, masquerading as a boy so that someone would keep her. The acting is fabulous. The remainder of the film deals with the conflict between tradition/customs and the heart. This movie beautifully shows the strong influence of filial piety as well as the prejudice against girls in China as it was in the 1930's.I believe I could show portions of it in my classes to illustrate these two important moral strands in China; however, the movie's power develops out of the whole story. I strongly recommend it to my other Asia in the Classroom colleagues.

[Anonymous]

This is a little off topic ... but on the CBS series on Sunday nights, Gray's Anatomy, there was an Asian character who needed emergency back surgery. Her dad insisted that a Sharman (sp?) needed to restore the sick woman's soul or else she would die during the surgery. The American doctors and interns couldn't understand since she was going to die if the surgery was delayed. As the show continued, a Shaman was located and the ritual took place in time. The patient said to the doctors that they wouldn't understand & thanked them for their patience ... a cultural divide. As I watched it, I too couldn't understand but as the ceremony took place, I gained an appreciation for the need of what would be in non-Asian eyes an extreme decision.

I guess what I am trying to say is that I was struck by the story line on primetime television and immediately thought about this class. There are so many Asian cultural issues I am unaware of ... and this does affect my relationship with my students and parents. This show just reconfirmed these thoughts.

[Anonymous]

Tai Guk Gi or the Brotherhood of War is a great Korean film about two brothers whose lives and love for each other is torn apart as a result of their forced military service in the early stages of the Korean War. Best watched with English subtitles (for the English speaker), this film is rated “R” for fairly continuous war violence and is geared to a mature audience.

This Korean film has won critical acclaim in the Best Picture, Best Cinematography, Art Direction, and Sound Effects categories at the Beaksang and Deajong Awards Ceremonies.

Tae Guk Gi is a 148 minute story about two brothers love for each other and how war changes these boys into men with competing motivations. Jin-tae, the older and more physical brother, vows to protect his younger and more studious brother, Jin-seok, from the ravages of the war. (Jin-tae sees it as his sole responsibility since the death of his father to protect and nuture his younger brother so that he may attend college, as Jin-seok is the pride of the family and has the greatest chance at attending college.) At one point in the movie, Jin-tae even brokers a deal with his superiors to exhibit exceptional courage and bravery in combat in order to free Jin-seok from the bonds of military service. Jin-seok sees Jin-tae’s bravado and exceptional “acts of courage” during battle as loving war and the act of killing. Jin-tae disregards Jin-seok’s concern and continues to pursue the path to Jin-seok’s freedom despite a complete deterioration of their relationship. The ravages of war then effect the lives of their loved ones in their own village, and the brothers drift farther apart both physically and emotionally.

Without “giving away” the ending, Jin-seok ends up deeply affected by the loss of the relationship with his brother and seems to carry this despair throughout the rest of his life.

This DVD comes with a Special Feature disk that includes interviews with war veterans and historians (very interesting) and the usual making of the film features.

As stated earlier, this film, in its entirety, is not suitable for the school environment. Edited scenes from the film would be appropriate to show in a class that covers recent Korean and Chinese history and family relationships.

I would recommend Tae Guk Gi to anyone interested in the Korean War and/or people who enjoy war genre films like Saving Private Ryan and Band of Brothers.

[Anonymous]

This is pretty outrageous, but here's the cite for the "Battle Royal" that I spoke about in our last meeting. Check out the manga links, there is so much for you to appeal to the students. While you can't show the movie in the class, you can bet that your students who are fans of J culture will have strong purchase of this film.

http://www.battleroyalefilm.net/

[clay dube]

It's been broadcast in the San Francisco Bay Area for 15 years, but I only recently learned of Inside China, a weekly show seen on a number of public TV stations. CA stations include KCLS (ch. 58 in LA), KCVR (ch. 24 in the Inland Empire), KCSM (San Mateo), and KFTL (San Francisco).

The programs are short, 30 minutes, and feature a range of topics from paper making to aviation and prison life. It's soft reporting, but you'll find a good range of video that might be a nice addition to lessons.

The program website is at http://www.insidechina.org. Duffy Wang's outfit also produces another series, Land of the Dragon, which I haven't seen.

[clay dube]

Teachers in the Torrance 2005 forum have been talking about the film The King and I. It's a popular film and one that we might take up here as well. It seems to me that (ignoring its historical accuracy for a moment), there are a few topics stimulated by the film that teachers and students might find interesting.

1. The interesting role played by Western tutors in Asia the late 19th and early 20th centuries. There are books and films that might be drawn upon, not only The King and I, but also The Last Emperor for China (Reginald Johnston). Another interesting story is that of Elizabeth Gray Vining who died in 1999 at 97. She tutored the current emperor of Japan for 4 years and wrote Windows for the Crown Prince about it.

What does it mean that these countries imported teachers for future rulers? Of our own future presidents, what international training have they received? [Remember how Bill Clinton's time at Oxford actually made some suspicious of him -- in part because of his anti-war activities and in part because of his "not inhaling" while there. Clearly the candidate who speaks fluent Spanish will be attractive to a growing segment of the electorate. Some see Russian-speaking Condi Rice as a potential candidate, though only a few folks have been able to successfully run for the presidency without having been elected to others offices - think Hoover and Eisenhower, both wartime heroes.] In an increasingly global age, can we be content with monolingual and monocultural leaders? Or is it possible that only leaders such as those can be trusted to put American interests first?

2. The King and I offers cultural clash, gender issues, and the hint of romance. One might also compare the Yul Brenner/Deborah Kerr version (1956) with the more recent Chow Yun Fat/Jodie Foster version (Anna and the King of Siam (1999). One could also track down the Rex Harrison version (1946) and a Warner Brothers cartoon version.

Why has the story of Anna Leonowens so interested movie makers?

Here are a few links that may be helpful:
Dialogworks - ideas for teachers
http://www.dialogueworks.co.uk/newswise/months/nov/siamj.html

World Royalty - outline history of King Mongkut
http://www.royalty.nu/Asia/Thailand/Mongkut.html

Amazon - take a look at the customer reviews of the Chow/Foster version.
http://www.amazon.com/gp/product/B00003CWLF/002-6441553-5048814?v=glance&n=130&v=glance

[clay dube]

I'm looking forward to teacher evaluations of this new film, which is already out in Los Angeles. Please do share your thoughts about the story, the performances, and settings. Can any portion of it be effectively used to teach about Japan?

Certainly the various controversies surrounding the film provide many teachable moments. These include:

-- debates about the best-selling book, including whether or not the male American author unethically "used" his principal source

-- Steven Spielberg's original plans to make the film, including his frustration with not finding actual geisha for the roles

-- the decision by director Rob Marshal and others to cast Chinese actresses in the lead roles rather than draw upon American actresses of Asian descent or Japanese actresses

Who can "rightfully" write about a culture or a society? Must one be an insider to offer an assessment or a narrative? Is it inappropriate for actors of other ethnicities portray Japanese? Should a Texan such as Renée Zellweger be permitted to play a Britan such as Bridget Jones?

The image below is from the Hello Ziyi fansite and shows a billboard for the movie in Japan.

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